Russ Meyer is the breast-fixated filmmaker who started as a nude pin-up photographer and progressed through his own startling brand of B-cinema to direct probably the most bizarre film ever funded by a major Hollywood -studio-"Beyond the Valley of the Dolls," Meyer's 1960s films-including "Mudhoney, Motorpsycho!" and the legendary "Faster, Pussycat! Kill! Kill!"-are now venerated as modern classics, and "Lips Hips Tits Power" examines Meyer's entire cinematic oeuvre in -detail, affording it the serious analysis it undeniably warrants. Featuring famous girls from Meyer's repertory company such as Tura Satana, Kitten Natividad, Uschi Digard, Haji and Erica Gavin, "Lips Hips Tits Power" offers a visual feast of buxotic female flesh to offset its critical commentary, resulting in a book which operates on two-equally stimulating-levels.

Russ Meyer, cult hero, creator of the sexploitation film, and the man the Wall Street Journal called the King Leer of Hollywood, made movies that filled the big screen with “big bosoms and square jaws.” In the first candid and fiendishly researched account of the late cinematic instigator’s life, Jimmy McDonough shows us how Russ Meyer used that formula to turn his own crazed fantasies into movies that made him a millionaire and changed the face of American film forever. This former WWII combat photographer immortalized his personal sexual obsession upon the silver screen, creating box-office gold with The Immoral Mr. Teas in 1959. The modest little film pushed all preexisting limits of on-screen nudity, and with its success, the floodgates of what was permitted to be shown on film were thrust open, never to be closed again. Russ Meyer ignited a true revolution in filmmaking, breaking all sex, nudity, and violence taboos. In a career that spanned more than forty years, Meyer created a body of work that has influenced a legion of filmmakers, fashionistas, comic book artists, rock bands, and even the occasional feminist. Bringing his anecdote- and action-packed biographical style to another renegade of popular culture, New York Times bestselling author of Shakey Jimmy McDonough offers a wild, warts-and-all portrait of Russ Meyer, the director, writer, producer, and commando moviemaking force behind the sexploitation classics Vixen, Beyond the Valley of the Dolls, Faster, Pussycat! Kill! Kill! and many others. Big Bosoms and Square Jaws blows the lid off the story of Russ Meyer, from the beginning to his recent tragic demise, creating in the process a vivid portrait of a past America.

Russ Meyer's Faster, Pussycat! Kill! Kill! (1965) is an enigma. A box-office failure when initially released on the grindhouse circuit, it has since been embraced by art-house audiences, and referenced in countless films, television series, and songs. A riot of styles and story clichés lifted from biker, juvenile delinquency, and beach party movies, it has the coherence of a dream, and the improvisatory daring of a jazz solo. John Waters has called it the greatest movie ever made, and Quentin Tarantino has long promised to remake it. But what draws them, and so many other cult fans to Pussycat? To help answer that question, this book looks at the production and critical reception of the film, its place within the cultural history of the 1960s, its representations of gender and sexuality, and the specific ways it meets the criteria of a cult film.

Performance Anxieties looks at the on-going debates over the value of psychoanalysis for feminist theory and politics--specifically concerning the social and psychical meanings of racialization. Beginning with an historicized return to Freud and the meaning of Jewishness in Freud's day, Ann Pellegrini indicates how "race" and racialization are not incidental features of psychoanalysis or of modern subjectivity, but are among the generative conditions of both. PerformanceAnxieties stages a series of playful encounters between elite and popular performance texts--Freud meets Sarah Bernhardt meets Sandra Bernhard; Joan Riviere's masquerading women are refigured in relation to the hard female bodies in the film Pumping Iron II: The Women; and the Terminator and Alien films. In re-reading psychoanalysis alongside other performance texts, Pellegrini unsettles relations between popular and elite, performance and performative.

Features exclusive interview material, rare images, and exhaustive chapters on all Jodorowsky's films.

This novelistic rendering of a true account tells of a celebrated rape case which took place in an electronic "salon", where Internet junkies have created their own interactive fantasy realm.

Presents a definitive study of women in popular music, covering groundbreaking musicians from ragtime and vaudeville to punk and hip-hop, and profiles such musicians as Ella Fitzgerald, Madonna, Billie Holiday, and Lady Gaga.